Tag Archives: George Wolf

Secret Love

Love, Simon

by George Wolf

Some of the most tired young adult cliches – narration, idealized characters, the dreaded climactic essay reading – show up in Love, Simon. 

So why is it such a winner?

Heart, smarts, and humor for starters. But it’s also the rare movie that earns points just for being here in the YA crowd, and for rightly assuming there’s no reason it shouldn’t be.

Simon (Nick Robinson) is an upper middle class high schooler in Georgia, with some awesome friends (Katherine Langford, Alexandra Shipp, Jorge Lendeborg, Jr.), awesome parents (Jennifer Garner, Josh Duhamel) and a big gay secret.

But then another kid at school comes out anonymously online, which leads Simon to adopt a fake name and reach out by email. So while much of the student body is guessing who the “secret gay kid” might be, two online pen pals bond over the uncertainties of being themselves.

Director Greg Berlanti (Life as We Know It) keeps the film moving, wrapping it with a clean, welcoming shine that would be just too peachy-keen if not for the smartly self-aware script from veteran TV writers Elizabeth Berger and Isaac Aptaker.

Adapting Becky Albertalli’s novel, the duo delivers some solid laughs (don’t mess with the drama teacher!), but more importantly, a knowing vibe that refuses to wallow in self-absorbed teen angst. Current events have reminded us that many teens are more than ready to meet harsh challenges with strength and wisdom, and Love, Simon gives them some refreshing credit.

It can’t go unnoticed that the film treats homophobic taunting as more mischievous than dangerous, but even that misstep feels ironically right. Everything about Love, Simon, from the casting to the set design, is effortlessly likable and comfortable, feeding the notion that this is nothing more or less than another teen romance.

It becomes a sweet, entertaining one, and it just might make some audience members feel a little less alone.

That makes Simon pretty easy to love.

 

Searching for Gigawatts

by George Wolf and Hope Madden

Now that Adam Kontras’s first documentary feature is out, he has time to sit back and savor the accomplishment.

“I completely regret attempting it,” he says. “Had no clue it would turn out the way it did.”

How’s that?

“The movie turned out well,” Kontras says. “I just wish it wasn’t me.”

The film is Fastest DeLorean in the World, Kontras’s first-hand account of mixing business with record breaking. The owner of a Back to the Future-style time machine, Kontras documented his attempt at setting a new DeLorean speed record.

It is a fascinating story, filled with frustration, thrills, more than a little personal anguish and much more debt than expected.

Kontras, a Columbus native, left home for Los Angeles in late 1999 with a performance art piece entitled 4TVs, in which he played each member of a mock boy band that performed via separate TVs due to mutual hatred. Kontras decided to update his ambitions for fans from his on-air work in Columbus radio at WTVN and CD101 (now CD102.5) with a series of videos dubbed “The Journey,” unknowingly blazing the video blogging trail.

“I had a good email following through my time in radio,” Kontras says. “I decided to include a video with the first email announcing my move to LA and chronicling the whole journey. I just made a page with each email and video on the 4TVs site and figured I’d do it until I ‘made it.’ Eighteen years later, that video blog became a sort of therapy to handle all the bullshit out here. Once I was recognized in 2009 as the first and longest-running ‘vlogger,’ it won’t be stopping anytime soon.”

And then, like so many Midwesterners chasing Hollywood dreams, Kontras built a golf course and bought an iconic vehicle.

“I built a minigolf course in my backyard,” he says. “I was theme-ing each hole, and in 2014 an actual DeLorean Time Machine seemed like the caviar dream. Long story short, I took a loan and figured I could make the money back renting the car out. If that failed, I could sell the car at the height of Back to the Future madness in October 2015 (the “future day” Marty goes to in part 2).”

Kontras credits that “madness” with doubling his investment in 2015.

“To date, it’s still my only means of income, which is hard for me to even comprehend,” he says. “The car is simply that popular.”

Needless to say, owning that car has taken Kontras to some interesting places.

“The three times I’ve had it on the Universal lot at Hill Valley will always be surreal,” he says. “Driving Lea Thompson into Dodger Stadium, driving it on an aircraft carrier—2015 was incredible for big events like that. But my favorite events are usually the smaller ones where we get to surprise fans. You forget how much this car means to people sometimes.”

It has also led to a firm friendship with Don Fullilove, who played Mayor Goldie Wilson in the Back to the Future films and joins Kontras in his documentary.

“(Don is) as genuine as he seems on-screen and I honestly feel he saves the film,” Kontras says. “He keeps the pace light-hearted, although the content is anything but.”

As Kontras sets out to modify his car enough to reach world record DeLorean speed, costs and setbacks mount. Kontras leaned on his gearhead brother Kenny for both advice and actual work on the engine, and some of the most effective moments in the film come after their differing visions lead to a gasp-inducing bit of deception.

“I’m still struggling with the aftermath of everything and it doesn’t look like it will end anytime soon,” Kontras says.

Though The Fastest DeLorean in the World is Kontras’s first feature, the film has polish in both framing and editing, thanks to his experience assembling The Journey vlogs.

“(The film) was edited in Premiere Pro, and we used so many different cameras,” he remembers. “Mostly smartphones, to be honest. When you’re doing a lot of guerrilla shoots, being able to hand off an iPhone Plus with the steadicam feature is worth its weight in gold. So many of the shots were by friends that were just there to see what happened and I’d hand them a phone. It made editing a nightmare but I’m used to that.”

Did Kontras get his speed record? The film takes you on a captivating ride to find that answer.

“The movie ends with one helluva cliffhanger,” he says. “We’re presently shooting the sequel, the content of which seems to change daily. I’m still living every second and have no idea what or when that will be.”

Fastest DeLorean in the World is available now on Amazon.

I Don’t Want to Go Out—Week of March 12

It’s Oscar week, people. Not the week of the Oscars, but the week the Oscar winners and nominees come home to us. All told, five Oscar nominees (including the best picture winner) are available for home entertainment. And, if you prefer bad movies, Justice League is also out. Choice!

Click the film title for a full review.

The Shape of Water

Call Me By Your Name

I, Tonya

The Disaster Artist

Ferdinand

Justice League

Donovan Riley happened…

by Hope Madden

I was not a pleasant pregnant person. There was no legitimate reason for my nastiness—I didn’t have a particularly problematic pregnancy. I wasn’t bed-ridden or diabetic, didn’t have kidney stones or anything. Two of my sisters and a niece-in-law all passed kidney stones while they were pregnant. Fuck! So I had no real reason to complain, but complain I did.

During the time that I was pregnant, I worked at a restaurant in the now-defunct City Center Mall called The Boulevard. There were several servers hired at one point or another during my pregnancy, and once Riley was born and I’d returned to work, one of them—Dawn—said to my friend Tori, “Wow! Motherhood’s had a big impact on Hope. She’s so nice now. She’s a completely different person now that she’s a mom.”

Tori responded: “No, she was a completely different person when she was pregnant. We just got her back.”

My dickishness was fairly legendary at the restaurant. At one point, while I was taking an order from one table, the man at the next table started pestering me.

“Excuse me. Miss! Excuse me! Excuse me!”

I asked my customers to give me just a second, turned my head toward the offending patron and barked.

I’m not saying that metaphorically I barked at a customer. I’m saying that I made a barking noise, loudly and as viciously as I could, toward this man. Who shut right up, by the way.

Why so grumpy? Well, first of all, people touch you when you’re pregnant. The minute they realize you’re pregnant, it’s as if that misanthropic asshole they’ve known all their lives has disappeared and in its place is a polite woman who invites you to put your grubby hands on her belly.

As if!

Also, when you do express your frustrations, they make excuses for you. “It’s just the hormones…”

Hey, buddy, fuck you. Acknowledge and accept my seething anger or risk being pushed down those stairs like that last idiot who underestimated my bloodlust.

Mainly, though, I felt claustrophobic in my own body, like I was trapped inside my ribcage or something. Plus, the smell of anything made me vomit—not just for the first few weeks, but for the entire pregnancy. All 9 ½ months of it.

That’s correct. He was two weeks late. Imagine how pleased I was. I would walk up and down the stairs, jump up and down, curse out neighbors—any of those tried and true methods of encouraging the baby to just come out already.

None of it worked, until March 12. We were facing a very late blizzard and the boy decided it was time.

Not, like, immediately. I was to face hours and hours of lies as George—eating from a basket of candy that, I still feel confident, was meant for me—would join in the doctor’s chorus of, “Just one more push!”

Liars!

Oh, the string of expletives that would follow such deceit. So bad that I won’t repeat them here, and I’ve already said fuck at least twice. That’s how bad.

I will share one anecdote that you don’t want to hear. The head of my bed faced one side of the room and the foot of my bed faced the door.

That, friends, is just bad geography. As the door opened and closed, opened and closed while nurses and technicians came and went, I got—impatient is not the word, but it’s in the area code.

“Do you think we could keep the door closed?” I asked politely in between screams of pain. “It may be just a birth canal to you, but I’d rather not share it with passersby.”

I’d have smacked somebody if I could have, but that’s the other real drawback of pregnancy—immobility.

Anyway, sometime after 11, after George had eaten all the good candies from my basket and Married with Children reruns were on the wall-hanging TV, Donovan Riley joined us.

All giant head and tiny body and furrowed brow, he looked very worried. And he should have been because we were all about to be tossed out in a blizzard since we had no insurance or earthly way of paying for a night’s stay at a hospital.

Or maybe he was worried about the cluelessness that wafted like a fog off his parents.

Oh my God, we were parents.

And maybe we didn’t suck at it because here it is, 25 years later, and he is the very best, bravest, loveliest person we have ever known.

Happy Birthday, baby bunny!

The Screening Room: Follow the Light

So many movies to talk about this week! Let us help you decide where to devote your energy: A Wrinkle in Time, The Hurricane Heist, Thoroughbreds or The Strangers: Prey at Night. We also run through the scads of new releases in home entertainment.

Listen HERE.

Sky Hard

The Hurricane Heist

by George Wolf

If your local TV weatherperson has a bit more swagger this week, there’s a good chance they’ve seen The Hurricane Heist and it’s heroic, badass meteorologist.

But it’s not just weatherman Will (Toby Kebbel) saving the day, there’s also ATF agent Casey (Columbus’ own Maggie Grace, repping home with an OSU cap), Will’s brother Breeze (Ryan Kwanten) and one ferocious weather system.

A thieving crew led by the scowling Perkins (Ralph Ineson from The VVitch) launches the latest big screen attempt to rob the treasury, but can you guess what makes this heist a little different?

There’s a hurricane!

What follows is big, dumb, and more fun than it oughta be.

Credit director Rob Cohen (The Fast and the Furious, xXx) with making the most of what he’s got, gunning for B-movie glory instead of overreaching. Let’s be honest, this setup is just south of Sharknado, but the pace is snappy, the effects are effective, and the adventure occasionally thrilling.

The writing team gives us easily identifiable characters that lean on cliche without being defined by them. Casey and Will are both damaged souls, natch, and heroic teamwork just might be their ticket to redemption. Perkins and his team of evil doers, clearly inspired by Hans Gruber’s iconic thieves in Die Hard, chew plenty of scenery while making it easy to cheer their eventual comeuppance.

The Hurricane Heist won’t tax you your brain, but it doesn’t want to. It just wants you to have fun.

You will, “weather” you expect to or not.

Catch phrase!

 

The Trouble With Harry

Gringo

by George Wolf

Gringo roll call: Theron! Edgerton! Oyelowo! Seyfried! Copley! Newton! Even M.J.’s daughter, Paris (better call her Miss Jackson, in case we get nasty).

The point is, there’s talent a ‘plenty here. The question is why?

Director Nash Edgerton (Joel’s brother) never fully commits to either madcap romp or suspenseful manhunt, settling for black comedy that’s never really dark or funny, and a tired, “wrong man” adventure propped up by tired cliches.

David Oyelowo gives it is all as Harold, a pharmaceutical exec who accompanies his bosses (Joel Edgerton and Charlize Theron) on a business trip south of the border. The deal, like most everyone around Harold, is shady, and quickly dissolves into mistaken identities, multiple kidnappings, and one drug lord who will kill you for bad mouthing the Beatles.

That drug lord goes by the name “Black Panther,” a minor point that only reinforces how forgettable this film is. The script, from Anthony Tambakis (Warrior) and Matthew Stone (Intolerable Cruelty) offers scattershot bits of promise, but nothing that provides any solid clue to why all these people signed on.

Maybe they all had a good time. Great, but Gringo runs in many directions without ending up anywhere worthwhile, and you’re left wondering just what the point was anyway.

 

I Don’t Want to Go Out—Week of March 5

Some super kick-ass women available to entertain you with tales of adolescence, murder, God and mayhem this week. Nicely done, ladies.

There’s also a man who invented Christmas, but honestly, only a man would claim to have invented Christmas. Sheesh.

Click film title for the full review.

Lady Bird

Mohawk

Midnighters

The Man Who Invented Christmas

Novitiate

Wonder Wheel

The Screening Room: Red and Dead

Not the strongest week in theaters, but home entertainment options kick all manner of ass. Join us in The Screening Room to hash it all out: Red Sparrow</em>, Death Wish, Midnighters and all that’s fit to watch at home, plus a little Oscar talk.

Listen to the full podcast HERE.

You Have the Right to Remain Dead

Death Wish

by George Wolf

Many things about this Death Wish reboot make you wonder why, in the wake of current events, the film’s release might not have been postponed a bit. Waiting wouldn’t have made it a better film, just a little less tone deaf.

But hell, director Eli Roth doesn’t have time for any of that sensitive crap. He’s coming in guns hot, seemingly confident he’s crafting a self-awareness that must be invisible to the rest of us.

Bruce Willis is mostly effective, and sometimes disinterested, as the new Paul Kersey, and this time Kersey is a surgeon. He’s spurred to vigilante action after a home invasion leaves his daughter (Camila Morrone) in a coma and his wife (Elisabeth Shue) in the grave, and his violent alter ego quickly gains fame on social media as “the Grim Reaper.”

Kersey’s success at keeping his identity hidden is one of the many eye-rolling conveniences in Joe Carnahan’s script, all minor nuisances next to how far Roth and Carnahan end up from where they thought they were going.

While Brian Garfield’s original novel probed the futility of vigilante justice, Charles Bronson’s string of Death Wish films moved the Kersey character from anti-hero to overtired cliche.

Roth seems to think he’s revamped the franchise as some sort of satire, but he’s wildly off the mark. That would require smart humor and strategic nuance, and Roth (Hostel, The Green Inferno) just doesn’t work in shades of gray.

The humor, thanks to a couple of corny detectives (Dean Norris and Kimberly Elise), is straight outta sitcoms. Nuance? Meet bombast.

Kersey saves lives by day and takes them at night! Do you get the contrast? Do you, really? Here’s a split screen montage to help you understand.

As Kersey points out that the problem is cops who just aren’t violent enough, Roth intersperses arguments from talk radio hosts in a feeble attempt to counter the film’s overriding message. It’s just literal lip service.

The finale, a “good guy with a gun’s” wildest fantasy, cements the film’s worldview. And even if you’re fine with that, you can find it in plenty of other films with better execution.

Pun intended.

https://www.youtube.com/watch?v=v_I4zqC7GN8